Joaquín Torres-García Construcción con dos máscaras (Construction with Two Masks) 1943

Joaquín Torres-Garcia spent almost half his life in Europe, where he developed his interest in geometric abstraction. Influenced by early modernists interested in Constructivism, including Piet Mondrian and Theo Van Doesburg, he believed in an art that was rational and universal. Upon returning to his native Uruguay in 1934, he began to incorporate symbols derived from ancient cultures of the Americas as part of his theory of “Constructive Universalism.” This involved the translation of ideas into signs and symbols through geometry.  The grid, as an ordered and mathematical structure, plays a significant role in Torres-Garcia’s compositions. As with this painting, his canvases are often divided into rectangular sections of various sizes that serve as containers for simple forms and symbols. This structure references early language systems, as well as Mayan and Andean pictographs. In Construcción con dos mascaras, Torres-Garcia combines this visual language with contemporary objects like keys, a wine bottle, tools, a knife, and a saltshaker, and masks inspired by North American Indian traditions. These “signs” seek to tie together modern and ancient aesthetic traditions.
Identification
Title
Construcción con dos máscaras (Construction with Two Masks)
Production Date
1943
Object Number
2012.107
Credit Line
Collection Pérez Art Museum Miami, gift of Jorge M. Pérez
Copyright
Public Domain
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Physical Qualities
Medium
Oil on paper on canvas
Dimensions
20 1/2 x 27 1/2 inches
Visual Description
Construcción con dos máscaras by Joaquín Torres-García is a painting on paper on canvas from 1943. It is made of oil paint on paper mounted on canvas and it measures twenty and a half inches by twenty-seven and a half inches. It is hung in landscape orientation, meaning its longest side runs parallel to the ground. The painting is comprised of various rectangular and square sections of paint that depict objects and words resembling signage and advertisements. Starting from the top left of the canvas there is a small white rectangle that is outlined by a larger black rectangle and an even larger blue rectangle.  Underneath these rectangles there is a wine glass surrounded by a white rectangle. The wine glass is yellow at the tip and red toward the base. To its right is a large white rectangle with a red and blue rectangle inside of it. The smaller rectangle has the words “sal fina” or “fine salt” written inside. Continuing underneath the wine glass is a large red square with a thin yellow stripe on its left-hand side. Inside this shape there are two white squares with smaller black squares inside of them. In between them there is a blue rectangle with a handle stretching from the middle. This shape resembles a basket. Inside the basket the word “ferreteria” or “hardware” is written. Finishing the far-right of the canvas, underneath the basket there is a series of seven small white squares interrupted by black paint. This black paint serves as the backdrop for the entirety of the canvas. To the right of the basket is a long white rectangle with a brown and yellow wine bottle that has several small black dots toward the bottom. Moving to the right, the top center of the canvas contains a white rectangle with two masks inside of it. The mask on the left is red. It has white eyes and a black moustache and eyebrows. To its right there is a letter “N”. The mask on the right is yellow and has blue eyes, black eyebrows, red lips, and red circles on its cheeks. Thin strips of red paint are on either side of the mask, resembling hair. To the right there is a letter “P”. To the right of the masks there is a small white rectangle with a blue tail fish inside. The meat of the fish as well as bone is exposed. The next layer down has various objects and words in different colored boxes. From left to right: A thin red box with the words “Año 1943”, A red rectangle with a black funnel-like shape, a small blue square with a number “5”, A yellow rectangle with a black cup-like shape with the word “yerba” written on a red rectangle, and a thin white rectangle with black vertical stripes and a spoon or brush that has a blue handle and a yellow tip. Finishing with the lower right quadrant of the painting, there is a large yellow rectangle with a knife, a ladle with a brown handle and blue tip, and a fork. Underneath the cutlery the word “Uruguay” is written in black paint. To the right there is a small white rectangle with a shape that resembles a wine glass on its side. The base is blue and the tip is red. Underneath it there is a small white square with a red and black square inside. To its right there is a small white shape that resembles a spoon.
Joaquín Torres-García
Joaquín Torres-García — b. 1874, Montevideo, Uruguay; d. 1949, Montevideo
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